You may also like
House Full torrent reviews
Berni E (jp) wrote: Not a great 'film' but a great way of communicating messages about malaria.....
Ian R (fr) wrote: an amazing accomplishment for the money he had, but it doesn't really hold together even for its short running time. the fake aussie guy is painful to watch every time he's on screen, and a lot of the downtime jokes fall really flat. where it really works is with the cornball action and green screen stuff. ok, but not a revelation or anything. I'd like to see what he could do with money, real actors and a fully fleshed out script.
Siddarth S (ca) wrote: I have no idea why the critics would pan this movie. The pace is fantastic and the acting is amazing (which is to be expected with Wagner Moura). Highlights a side of Rio that is in stark contrast when compared to the party life that it is so well-known for. A gritty story about life in the Favellas
James H (it) wrote: The best thing about this movie is the footage of Moscow, otherwise it's a mundane and poorly constructed action film, very badly acted by Alexander Nevsky. Completely predictable.
Andrea B (nl) wrote: breathtaking doco that would be difficult to get wrong with such fascinating subject material. it is truly unbelievable that nachtwey is able 2 handle what he sees day by day with such restraint and calmness. i'm sure i would lose my hope in humanity in the same situations. he captures amazing images.
Israel N (br) wrote: Un oficial-qumico de las SS descubre el exterminio de judos en los campos de concentracin y busca hacer algo al respecto. Es buena pero habra sido mejor que fuese hablada en alemn y no en ingls.
Jake Z (mx) wrote: Vibrant, bold, and sensational. Bad Education contains all of Almodovar's typical flourishes, beautiful direction and a twisty, layered, narrative. One of his best.
Jeff B (br) wrote: Good Palme D'Or winner written by Ingmar Bergman based on his parents and how they got together. It's a long film, and the first half is pretty slow, it takes too much time showing how their relationship began. But the acting makes up for the slow parts, especially from Max Von Sydow who makes a small appearance, so I didn't mind so much. The second half is much better when the couple try to settle in and start their life together. I wish there was more story involving the young boy Petrus, those scenes were very interesting and the best moments of the film. The ending is also very good.
Sean G (kr) wrote: Not bad for an 80's surf movie. I've been trying to remember this one for a while. All I could recall was that there was film that was kind of like the Surf version of Karate Kid. There was a "retired" old pro - that had mellowed out to be more in tune with the waves, the world ;) - training him reluctantly, but making him do it the "right way". He had to start out with this oversized old fashioned board that the island people use to use, and then board by board advance to finally use a modern Pro board with the latest and greatest brand name / technology.
David C (jp) wrote: The beautifully-filmed "Paris, Texas" tells a story, and tells it in a way, that is both novel and hauntingly familiar. In its opening moments it seems almost to be a spaghetti Western. It has the dusty badlands and close-ups of the cracked, inscrutable face of a mysterious protagonist (Harry Dean Stanton). He says nothing, and when others speak it is often with a European accent, reminiscent of those that were poorly dubbed over in the old Italian and Spanish gunslinger films. A German-inflected townie in Terlingua-is he a doctor? law enforcement? just a drinker? probably all of the above-is straight out of a great noir or adventure film, channeling the untrustworthy gregariousness of Sidney Greenstreet in "Casablanca" and Walter Huston's old-timer expatriate in "Sierra Madre." But the mystery the movie introduces in its opening scenes feels new and exciting: a man who will not talk, who has a history but seems not to remember it, who has walked so long through the desert that his shoes are worn through.Director Wim Wenders tries out several different settings and speeds in the course of unraveling the story of Travis, this mysterious man, yet the information is so fragmented that for a long time each new piece only deepens the mystery. Slowly the plot proceeds, first as an almost comedic road buddy movie, then as a kind of "Kramer v Kramer" dramedy as the ragged Travis works to win the trust of a seven-year-old boy, Hunter. The character of Hunter is increasingly central to the film, and the child who plays him is uncommonly believable for an actor of his age. He has to deliver lines that resonate as both funny and poignant, as when he says "Goodnight, Dad" to two men in succession or struggles with a decision that causes pain to one of the two women he calls "Mom."The landscapes of Texas have probably never been more faithfully committed to film. The deserts of the southwest are the hook, but soon it's all highways and isolated gas stations and endless flatness. Later scenes set on and near the tangled highways of Houston are filmed in a point-of-view manner that is mesmerizing and builds tension, much like the long driving cuts in Andrei Tarkovsky's "Solaris." By this point in the movie, enough information has been revealed about Travis that the mystery has lost some of its urgency, and both Travis and the script seem on the verge of turning inward and abandoning us to their own private musings on the unknowability of others. A reveal about a mysterious "Jane" feels too stereotypical for a movie that had up to then been using assorted tropes but tell a fresh tale. But the movie does not end without bringing its threads and themes (especially the theme of the unbridgeable distances between people, and of the jealous desire to possess loved ones, first broached through a character called Anne) to a final fruition. Some of the camera-work in the penultimate scene, involving a one-way mirror, ingeniously underlines these ideas, and there is a satisfying balance and believability to the movie's last dialogue. Ry Cooder's guitar-based musical score has a strong, appropriate presence throughout the film, and like it is artful yet accessible.
Carol M (it) wrote: Gawdawful Gawdawful Gawdawful. Or .... let's see....CRAP!
Shawn W (mx) wrote: The Frankenstein story gets the Italian film industry sleaze treatment as Dr. Frankenstein's daughter picks up her father's experiments to create a lover for herself after dad's deformed creation kills him and others in town. Good stuff!
Shawn S (mx) wrote: Wonderful performances. I think they got past the Hayes law. Fantastical and winning story. Gripping. A real treat for anyone who hasn't seen it, or like me, has seen it for the third time!
Guillaume H (us) wrote: I like the backstory, i like the general directing, anf the vibe of springwood. The whole premise is interesting, and the humor os so much fun, i dont get why this movie gets so much flack.
Jonathan B (jp) wrote: Peter Benchley and Steven Spielberg conspired to make me terrified to even take a bath when they created this classic movie. Straight away, we have to deal with the giant rubber shark that leaps onto the boat towards the climax of the movie. It didn't really work in the 1970s and it really doesn't work now but by the time it appears, it ceases to matter as the sheer terror has been well established. The movie is formed of two distinct acts. Firstly, we have the onshore story of how the small American community of Amity Island learn of the monstrous, great white shark that has come to visit their shallows at the start of the holiday season. While in the second act, we go aboard the fishing vessel Orca with her captain, the local police chief and a shark expert and follow their attempt to track and kill the beast. This second act is a real jewel of a character piece thanks to the fine acting talents of Robert Shaw, Roy Scheider and Richard Dreyfuss. I love the scene where Shaw's Quint and Dreyfuss' Hooper compare scars in an attempt at one-upmanship and the line from Schneider's Chief Brody "You're going to need a bigger boat!" has entered film legend. There's also that terrific score by John Williams that does so much to terrify the viewer. The theme is now such a part of popular culture that there can be few of us that haven't had those menacing bars of music reverberating through our heads at some point while we paddle in the sea at Paignton.
Jeff W (au) wrote: This is my favorite Pam Grier film, Friday Foster reminds me of (Laura Gemser's) Emanuelle. She looks totally gorgeous in this one and the films theme song is a masterpiece. Lots of fun to be had with this film; with the lingo, some of the humor and the characters. Although this film starts to drag a little bit, it still holds a better pace than Coffy.